The Verset and Fabordão Genres in The Context of Music Manuscript 242 from the Coimbra University Library

Filipe Mesquita de Oliveira

Resumo Este artigo é o resultado de uma pesquisa exaustiva que tenho desenvolvido em torno do Manuscrito 242 da Biblioteca da Universidade de Coimbra (P-Cug MM 242). Este valioso manuscrito do século XVI destaca-se pela importância crucial para o estudo da música instrumental em Portugal, no Renascimento tardio e nas primeiras décadas do século XVII. Neste manuscrito estão reproduzidos alguns dos primeiros exemplos de tento e fantasia, como o atestam as obras para tecla de António Carrreira (c.1530-c.1594). Para além de um grande número de cópias de motetes, andamentos de Missa, canções e madrigais escritos por diversos compositores europeus de meados do século XVI, identificados e inventariados por Owen Rees, este manuscrito inclui também diversas peças instrumentais de autoria desconhecida, que ainda não receberam a atenção que merecem. Deste conjunto, seleccionei dois grupos de obras que reúnem pequenas peças instrumentais, as quais irei aprofundar neste artigo. O primeiro grupo, que representa o objecto central deste estudo, é constituído por um conjunto de obras para tecla com melodias em cantochão que proponho incluir nos géneros verso e/ou fabordão para órgão. Pretendo discutir estas obras a partir das suas características formais, estilísticas e performativas, assim como a sua inclusão nas práticas de alternatim instrumental no Mosteiro de Santa Cruz de Coimbra durante esse período.

Palavras-chave P-Cug MM 242; Tento; Verso; Fabordão.

Abstract This paper is the result of the extensive research I have been pursuing on Music Manuscript 242 from the Coimbra University Library (P-Cug MM 242). Presented in score-format, this sixteenth-century handwritten treasury is of fundamental importance in what regards the understanding of instrumental music in Portugal during the late Renaissance up to the first decades of the seventeenth century. Earlier examples of tento and fantasia are copied in it, as testified by the keyboard works of António Carreira (c.1530-c.1594). Besides a large amount of scored copies of motets, mass movements, chansons and madrigals by some of the principal mid-sixteenth century European composers, identified and inventoried by Owen Rees, the manuscript includes also a large number of instrumental pieces of unknown authorship, that deserve our attention. From them, I have selected two groups of copies, which contain short instrumental pieces that I intend to present in this paper. The first group, the main object of this study, is formed by a series of keyboard works with the same plainchant melody which I propose to include in the organ verso and/or fabordão genres and to discuss it, focussing their formal, stylistic and performance characteristics, as well as its inclusion in the liturgical instrumental alternatim practices in the Monastery of Santa Cruz de Coimbra during the given historical period.

Keywords P-Cug MM 242; Tento; Verso; Fabordão.

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ANUSCRIPT MM 242 OF THE BIBLIOTECA GERAL of Coimbra University has for some

years been our object of study, as regards the beginnings and flourishing of

instrumental music in Portugal, in the middle of the 16th century.1 Copied, probably in

the third quarter of the 16th century, almost completely by a single copyist,2 it is in score format, the

tactus divided at the semibreve, and was compiled at the Monastery of the Holy Cross in Coimbra.3

It includes a large number of works which, taken altogether, bear witness to the eclecticism of the

copyist and his updating of the repertoire in relation to what was being heard in the mid-16th

century, whether in the Iberian Peninsula, Flanders or the north of Italy. Thus we have selections of

pieces copied from prints by Susato, Phalèse and Gardane, amongst other publishers, especially

motets and songs, but also some madrigals. Interspersed with this, is a huge number of instrumental

works, many of them by identifiable authors,4 some of them still to be identified, these latter being

one of the most interesting aspects of the continued study of this manuscript. As the fundamental

source for the beginnings of the tento in Portugal during this period, as I have been able to establish

through the studies I have made of MM 242,5 the codex includes the entire output for organ of

António Carreira (c.1530-c.1594), as well as a series of recompositions of some ricercari from the

Libro primo […] (1547) of Jacques Buus. As an archive of repertoire, this manuscript bears witness

to the use of some of the works copied for purposes of compositional and instrumental teaching,

applied in various other copies, of unidentified authorship, also contained in it. In this regard, I was

able to establish in my research6 a direct relationship between the genesis of the Portuguese tento

for keyboard, especially as reflected in Carreira’s works, and the ricercari of Buus’s Libro primo

[…]. But as well as this Flemish composer, and the characteristic style of his pieces, most notably

their gigantic ranges, the anonymous instrumental pieces included in the manuscript are formally

1 Filipe Mesquita de Oliveira has published several studies of the Coimbra’s Library Music Manuscript 242 (P-Cug MM

242). It should be mentioned: ‘António Carreira’s keyboard tentos and fantasias and their close relationship with Jacques Buus’s ricercari from his Libro primo (1547)’, in Interpreting Historical Keyboard Music - Sources, Contexts and Performance (Farnham, Ashgate, 2013); Contributo ao estudo das obras para tecla atribuídas a António Carreira, ‘O Velho’ (Évora, Universidade de Évora-UnIMeM/FCT – 2012); ‘The Recompositions of Buus´s Ricercari from his Libro primo… in Manuscript P-Cug MM 242 and the Didactic Processes of the Friars of the Santa Cruz Monastery in Coimbra’, in History Research, 3/6 (Rosemead, David Publishing, 2013).

2 ‘[…] com a única excepção da obra n.º 136 (ff. 122r - 125r), cuja caligrafia é idêntica à do copista que copiou as vozes superiores da peça n.º 46 do MM 48 (f. 66v).’ – ‘[…] with the sole exception of no. 136 (ff. 122r-125r), whose calligraphy is identical to that of the copyist of the upper voices of no. 46 in MM 48 (f. 66v).’ see F.M. de OLIVEIRA, ‘A Génese do tento no testemunho dos manuscritos P-Cug MM 48 e MM 242 (com uma edição crítica dos ricercari de Jacques Buus e das suas versões recompostas)’ (Dissertação de doutoramento, Universidade de Évora, 2011), p. 18.

3 See O. REES, Polyphony in Portugal c.1530-c.1620: Sources from the Monastery of Santa Cruz, Coimbra (Outstanding Dissertations in Music from British Universities, New York-London, Garland Publishing, 1995), pp. 325-42, 367-412.

4 In addition to the identification, in many cases, of the authors in MM 242, the study of the concordances carried out by Owen Rees resulted in the identification of the composers of several other works; see REES, Polyphony in Portugal (see note 3), pp. 326-37.

5 See note 1. 6 OLIVEIRA, ‘A Génese do tento’ (see note 2).

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and stylistically influenced by works found in two Spanish prints absolutely central to Iberian

instrumental music of the 16th century. These are the Libro de cifra nueva […] by Venegas de

Henestrosa, published in Alcalá de Henares in 1557,7 and the Obras de música para tecla arpa y

vihuela […] by Antonio de Cabezón, published by his son Hernando, in Madrid in 1578.8 I am

referring specifically to a series of short pieces by an unidentified author, including fabordões,

hymns, versets and tentos, and other forms yet to be identified, which thus have a liturgical

function. It is important therefore to consider that the didactic compositional and instrumental

function of these pieces was associated with clear objectives, that is, their use within the context of

liturgical celebrations. There are three distinct groups of copies following on from each other in the

inventory of MM 242 (see Table 1). The first of them includes three-voice pieces, made up of three

hymns and four pieces, amongst which are some that could be hymns and others tentos for three

voices (see Table 2). There is a second distinct group made up of eight pieces, which can be called

fabordões (see Table 3).9 Finally, I have identified a third and final group, found in the last part of

the manuscript, whose formal identification is more complex, though there are certainly some works

that can be considered to be versets or tentos (see Table 4).

Of the various instrumental forms and genres that one may associate with the works found in

MM 242, undoubtedly implicit in these three groups that I have just identified, it is known that the

respective function is liturgical. Moreover, in the context of the 16th-century Iberian tento for

keyboard, especially taking into account the organ output of Antonio de Cabezón, one of the

characteristics that distinguishes this Peninsular genre from the ricercare from beyond the Pyrenees

is the fact that the former is part of liturgical music practice. Unfortunately, the evidence available

for this study is very scarce, there being practically no indications, whether in terms of manuscript

or printed sources, that might suggest the actual positioning of the tentos within the Office or Mass.

The British Bernadette Nelson10 has, nevertheless, hypothesized in this regard, approaching the

problem through the systematization of known questions with regard to the practice of alternatim.

Thus, the Iberian verso, or verset, would be a piece of very short duration inserted between

7 Luys Venegas de HENESTROSA, Libro de cifra nueva […] (Alcalá de Henares, Joan de Brocar, 1557). 8 Antonio de CABEZÓN, Obras de música para tecla, arpa y vihuela […] recopiladas y puestas en cifra por Hernando de

Cabezón su hijo (Madrid, Francisco Sanchez, 1578). 9 The fabordón or fabordão meanings are discussed later on in the present study, according to the ideas and conceptions

recently focused by Giuseppe Fiorentino in one of his latest articles. See G. FIORENTINO, ‘“Cantar por uso” and “cantar fabordón”: the Unlearned Tradition of Oral Polyphony in Renaissance Spain (and beyond)’, Early Music, 43/1 (2015), pp. 23-35; it is also important to quote Sergi Zauner’s studies which focus the multiple fabordón conceptions, one of them the description and discussion of the instrumental fabordón—see S. ZAUNER, ‘El fabordón a la luz de las fuentes hispánicas del Renacimiento (ca.1480-1626). Fórmulas y fabordón elaborado en el marco del Oficio Divino’ (PhD dissertation, Saarbrücken University, 2014); and ‘El fabordón hispânico como res facta salmódica a comienzos de la edad moderna. Ensayo terminológico’, Revista de Musicología, 38/1 (2015), pp. 47-77.

10 Bernadette NELSON, ‘Alternatim Practice in 17th-Century Spain: The Integration of Organ Versets and Plainchant in Psalms and Canticles’, Early Music, 22/2 (1994), pp. 239-56, 258-9.

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liturgical psalms and canticles, functioning as a connecting link between them. There are very often

musical and/or formal thematic references that allow one to position a particular verset within the

context of a particular rubric. This is the case, for example, with the Versos de Magnificat—Tono

primero (XLII), and the four versos of Kyrie Rex virginum (L), which are included in the Obras de

música […] by Cabezón.11 However, in the majority of cases, this does not happen, and we know

only the liturgical function of the verset. In the context of alternatim practice, it would not

necessarily always have been the organ playing a verset; it could merely intone, or play a ‘chord’

from the following canticle, thereby aiding the tuning of the choir’s entry.12 In its turn, the last

sound of the verset would have had to correspond to the pitch of the choir’s entry for the

performance of the following rubric. It is also known that these organ miniatures, generally for three

and even for two voices, had at the same time a didactic function, an initiation of the organist into

liturgical practice.13 In the research that resulted in the present study, I was able to make a direct

link between this data and the pieces from the third group that I distinguished. With the exception of

the first of them, which I consider as a tento, given its larger dimensions, being 117 bars long (see

Table 4), all the others will be considered, as part the possibility I raise, as versets, some of them

being Kyrie versets. Many are the reasons that led me to this conclusion. The first of them, and in

my view the most important, has to do with their formal and stylistic closeness to Cabezón’s

versets, published in the Obras de música […]. Before proceeding to an exhaustive comparative

analysis of these works and those of Cabezón, I can already list some points that place them within

this context. As is the case with the versets in the Obras de música […], there is a similar brevity,

the versets consisting of two imitative points developed, briefly and irregularly until the final bar

(see Plate 1). As mentioned before, given the absence of any incipit that could furnish us with more

information concerning the positioning of these versets within the liturgy, such was impossible to

determine in this case (see Table 4). Also evident is the comfortable quality, in terms of the

keyboard, of these versets, which I was able to analyse by means of the quantification of parameters

with regard to voice crossing, especially between the two middle voices (altus and tenor) (see Table

4). Indeed, there is either no voice crossing, as in nos. 220 and 222, or it is very occasional, being an

exception to the rule (see Table 4). I therefore emphasize the fact that the instrumental idiom is that

of the organ. From the thematic point of view, these versets use only one or two motifs (see Plate

2). Monothematicism is therefore the rule. I was also able to establish, apart from their brevity, the

stylistic proximity of these versets to those in Cabezón’s Obras de música […], whether because of

11 CABEZÓN, Obras de música para tecla (see note 8). 12 See NELSON, ‘Alternatim Practice in 17th-Century’ (see note 10), pp. 240-1. 13 G. DODERER and M. B. RIPOLL (eds.), A DE CABEZÓN—Ausgewählte Werke für Tasteninstrumente—Selected Works

for Keyboard, vol. 1 (Kassel, Bärenreiter), p. x.

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their thematic nature, or because of the kind of imitation. In fact, from versets nos. 222 to 232, I

would suggest that they are Kyrie versets, bearing in mind the thematic similarities with some chant

melodies for the Kyrie (see Table 4). As an example, I cite verset no. 222, whose opening motif is

almost identical to that of the Verso IV de 2º Tono XLIII from Cabezón’s Obras de música […],14

though transposed (see Plates 3 and 4). Lastly, reference must be made to the didactic nature of

these versets, apparent from the thematic relations between nos. 218 to 221. There are indeed many

analogies between the intervallic and rhythmic configurations of the head motifs of these versets.

As an example, one may compare motive A of piece no. 218, given initially in the Altus (see Plate

2), and motive A of piece no. 220, also first given in the Altus (see Plate 5). There is an obvious

analogy between the ascending minor thirds followed immediately by the descending semitone,

with similar rhythmic configurations (see Plates 2 and 5). This observation is also applicable to the

thematic relations to the opening motives of versets nos. 219 and 221 (see Plates 6 and 7). It thus

becomes clear that, whoever composed these versets, did so for didactic purposes, if we take into

account not only these thematic analogies, but also the formal nature of the verset, which comprises

one or two imitative points in short phrases, thus allowing the student to familiarize himself with the

rules of imitative counterpoint. The stylistic relationship evident in these Kyrie versets in MM 242

is connected with the Kyrie versets in Cabezón’s Obras de música […], though in the Coimbra

manuscript they are not systematically organized according to the church modes, as is the case in

Cabezón’s print. Finally, mention must be made of the fact that, for Kyries nos. 223 to 226, I was

able to identify the respective chant melodies, thereby confirming the thesis of the liturgical

function of these works (see Table 4). Nevertheless, further research must be made in what concerns

plainchant melodies identification, since I was not able to confirm what manuscripts or sources

were used in the particular cases focused.

As far as the second group of pieces I identified is concerned, this is a series of copies of eight

fabordões, in the first four church modes, copied in a systematic way from the first to the fourth

(see Table 3). One has here to discuss the term fabordão, since its meaning referred to various

musical concepts in 16th and 17th centuries Iberian Peninsula.15 Originally they were used to set the

texts of psalms to four-part music using the psalm tone as cantus firmus . Its formal structure was

homophonic, based in triadic four-part writing with the chord roots in the bass.16 But, in what

14 See Higinio ANGLÉS (ed.), Antonio de Cabezón - Obras de música para tecla, arpa y vihuela…recopiladas y puestas en

cifra por Hernando de Cabezón su hijo (Madrid, Francisco Sanchez, 1578) (Barcelona, Instituto Español de Musicología, 1966), vol. 1, p. 36.

15 In one of his latest studies, Giuseppe Fiorentino has widely discussed, the fabordón conceptions and its relations to performing practice and Spanish Renaissance Music Sources. See FIORENTINO, ‘“Cantar por uso”’ (see note 9), pp. 23-35.

16 FIORENTINO, ‘“Cantar por uso”’ (see note 9), p. 24.

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concerns instrumental music, fabordón meant a music work or a musical arrangement, having in

mind what terminology such vihuelistas as Mudarra and Fuenllana17 used or keyboard players like

Sancta Maria or Cabezón.18 To this point and having in mind the close relationship of the music

works copied in MM 242 which I am referring to, with the works of Cabezón and those included in

Henestrosa’s Libro de Cifra nueva […], the term fabordão associated with this last meaning seem

to be the one which is appropriate to characterize the works in this Coimbra manuscript.19 In fact,

there is a major problem in qualifying the typology of music pieces such as these, given the fact that

there is no written term associated with them in the manuscript. Nevertheless, I observe here the

coherence of Zauner’s argument referring to this question.20

Being ‘harmonizations’ in four voices of psalm intonation formulas, the fabordões found in

MM 242 are, in formal terms, what Cabezón entitled fabordón glosado, that is to say,

‘harmonizations’ in which one or more voices are ornamented, in order to demonstrate the skills of

the organ player. 21 In fabordões nos. 126 and 127, there are undeniable similarities, with both the

ten fabordones llanos (VI – XV) of the Libro de Cifra nueva […],22 and the Fabordones XXIV, XXV

and XXVI of Cabezón’s Obras de musica […].23 As far as Venegas de Henestrosa’s work is

concerned, the fabordões nos. 126 and 127 of MM 242 have the same melody as the anonymous

Fabordón llano I (VI), found in the Libro de Cifra nueva […].24 As is the case in Venegas’s

17 Alonso Mudarra called his two fabordones ‘Psalmos’ in his work Tres libros de música; Fuenllana referred to ‘tonos en

fabordón’ meaning arrangements of previous works by Guerrero. See FIORENTINO, ‘“Cantar por uso”’ (see note 9), p. 26.

18 FIORENTINO, ‘“Cantar por uso”’ (see note 9), p. 26. 19 Zauner widely discusses the terminological questions surrounding the term fabordón and its instrumental application:

‘[…] deja entrever una cierta tendencia a emplear el término ‘fabordón’ para piezas conservadas en fuentes instrumentales o bien que carecen de letra. Por consiguiente, cabría valorar la posibilidad de que la participación de instrumentistas en la tradición—es decir, la necesidad de disponer de una denominación para piezas que carecen de letra—estimulara la consolidación del término ‘fabordón’ en su acepción de res facta, y que esta no se empleara inicialmente para el repertorio vocal’. See ZAUNER, ‘El fabordón hispânico’ (see note 9), p. 64.

20 ‘También podría ser fruto de las características habituales del formato manuscrito: a excepción de que la fuente correspondiente esté encabezada por un índice, las piezas copiadas en manuscritos no suelen incluir información respecto a su género o tipologia. Por su lado, los libros de música instrumental son también fuentes impresas, más dadas a incluir índices, títulos y otros procedimientos de sistematización del contenido. Sea como fuere, el caso presentado es interesante porque pone de manifiesto que la aplicación del término ‘fabordón’ por parte de los especialistas a piezas que no incluyen denominación explícita es, como en el caso de Bradshaw, producto de un ejercicio de analogia.’ See ZAUNER, ‘El fabordón hispânico’ (see note 9), p. 64.

21 Zauner emphasizes the importance of the pedagogical role of the fabordón (we would prefer however the use of the term didactic instead of pedagogical as applied here, since there were no Pedagogy as such in those times): ‘A un fabordón llano siguen tres glosados del mismo tono, que emplean invariablemente el primero como base: en uno se aplican disminuciones en la parte superior, en otro en la inferior y en el tercero en las partes intermedias. Tal grado de sistematización denota claramente un carácter pedagógico que se corresponde con un fragmento del Proemio que Hernando de Cabezón dedica al lector de su antologia’. See ZAUNER, ‘El fabordón hispânico’ (see note 9), p. 70.

22 See Higinio ANGLÉS, La música en la Corte de Carlos V con la transcripción del ‘Libro de cifra nueva para tecla, harpa y vihuela’ de Luys Venegas de Henestrosa (Alcalá de Henares, Joan de Brocar, 1557) (Barcelona, Consejo Superior de Investigaciones Científicas - Instituto Español de Musicologia, 1984), vol. 2, pp. 9-12.

23 ANGLÉS (ed.), Antonio de Cabezón - Obras de música (see note 14), pp. 51-9. 24 ANGLÉS, La música en la Corte de Carlos V (see note 22), p. 9.

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collection, the psalm tone in no. 126 is found here also in the Superius (see Plate 8). Nevertheless,

in the case of the Coimbra manuscript, these two fabordões are fabordões glosados, inasmuch as the

Bassus is glossed in both cases, its formal structure is modelled on that found in the fabordones

llanos of the Libro de Cifra nueva […],25 that is, only two phrases with two cadences, the first on

the reciting tone, in this case in mode 1, and the second on the finalis (see Plate 8). In the same way,

as happens with the fabordones in Venegas’s collection and also in Cabezón’s Obras de música

[…], the fabordões in MM 242 also begin with three notes that make up the ‘chord’ of the opening

mode,26 being characterized in general by glossed passages that are strongly reminiscent of those in

Cabezón’s work. However, the glossing of the fabordões in the Coimbra manuscript is considerably

more austere, perhaps reinforcing the possibility of the didactic function of these pieces, that is, of

someone learning the language of instrumental ornamentation, as composer and performer. In fact,

the process of learning how to gloss is much closer to the ornamental configuration of the

fabordones glosados which are found in the Libro de cifra nueva […], these being, by nature, much

more austere than those by Cabezón in the Obras de música […] (see Plates 10 and 11). In addition,

it should also be mentioned with regard to this genre, the correspondence between some of the

fabordões I have identified and those found in Cabezón’s Obras de música […]. Thus, as we can

see in the ‘observations’ column of Table 3, there are all kinds of similarities between these

fabordões and those by Cabezón.

Finally, the first group of works I distinguished may in turn be considered as hymns (see Table

2). This is a set of pieces for three voices, as we shall see, much closer stylistically to the hymns

found in the Libro de Cifra nueva […],27 than in Cabezón’s Obras de música […].28 Indeed, given

that in Venegas’s collection the hymns are almost entirely attributed to a certain Antonio, whom

Anglés took to be Antonio de Cabezón, they must be amongst the composer’s earliest works,

stylistically more austere in comparison with the works of his full maturity, as exemplified in the

Obras de música […]. On the other hand, it should be borne in mind that the pieces copied

immediately before these hymns in MM 242 have concordances with some hymns by Antonio in

the Libro de Cifra nueva […], namely pieces nos. 96 to 102.29 In the case of the pieces of unknown

authorship, I have identified two distinct hymns, namely Ave Maris Stella (no. 104), and Pange

lingua (no. 110) and also the Sequence Dic nobis Maria (no. 105) (see Table 2). As for the

remaining pieces, I have not been able to identify the chant melodies, though Santiago Kastner

25 ANGLÉS, La música en la Corte de Carlos V (see note 22), pp. 9-12. 26 ANGLÉS (ed.), Antonio de Cabezón - Obras de música (see note 14), p. 171. 27 ANGLÉS, La música en la Corte de Carlos V (see note 22), pp. 1-3 and pp. 111-34. 28 ANGLÉS (ed.), Antonio de Cabezón - Obras de música (see note 14), pp. 21-31. 29 ANGLÉS, La música en la Corte de Carlos V (see note 22), pp. 140-9.

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hypothesized the existence of a song theme in the case of no. 109.30 As regards their formal

typology, these hymns follow the configuration of some of those found in the Libro de Cifra nueva

[…] (nos. 76-78)31 and the Obras de música […],32 that is, the hymn melody is found in long, even

note values in the middle voice and glossed in the two outer voices (see Table 2, formal structure

column and Plate 11).

In conclusion, I have aimed in this paper to contribute with some new elements to the study of

organ music in Portugal in the mid-16th century. MM 242 from the Biblioteca Geral of Coimbra

University being the main written source thereof, in it one may glimpse the didactic, compositional

and organistic processes employed by the monks of the Monastery of the Holy Cross during this

period. In addition to the tento and the fantasia, which I have examined previously, I have here

proposed other genres, such as the hymn, the fabordão and the verset, whose origins, formal, modal

and stylistic, are to be found either in Venegas de Henestrosa’s collection or in Cabezón’s Obras de

música […]. Concerning the fabordão and bearing in mind Fiorentino’s33 and Zauner’s34 research,

besides the printed and hand-written sources, new fields of research must be explored regarding this

genre, such as those which concern the improvisational and compositional processes of extempore

counterpoint.35 Given this new research data, our present conception of the instrumental fabordão

must be further explored in order to compare it with these oral specific practices. Only these future

research data would clarify us about the improvisational and compositional processes of extempore

counterpoint applied to psalm-harmonization, glosas and psalm-tones.

Having emphasized in this study the question of the role of the organ in the liturgical context, I

now suggest here the need for the future analytical and comparative study of these pieces with the

intention of examining their attributions of authorship. In the short term, it will be necessary to

make a selection of the most interesting works musically speaking, and make a critical edition

intended to widen the repertoire of the organists of today.

30 See Santiago KASTNER (ed.), Antologia de Organistas do Século XVI, transcrição de Cremilde Rosado Fernandes,

Portugaliae Musica, 19 (Lisboa, Fundação Calouste Gulbenkian, 1969), pp. 132-4. 31 ANGLÉS, La música en la Corte de Carlos V (see note 22), pp. 111-6. 32 ANGLÉS (ed.), Antonio de Cabezón - Obras de música (see note 14), pp. 21-31. 33 FIORENTINO, ‘“Cantar por uso”’ (see note 9), pp. 23-35. 34 ZAUNER, ‘El fabordón a la luz de las fuentes’ (see note 9); ZAUNER, ‘El fabordón hispânico’ (see note 9), pp. 47-77. 35 Fiorentino distinguishes two main conceptions related to the vocal fabordón. The first called ‘Learned Oral Tradition of

Polyphonic Music’ concerns musicians with theoretical and practical knowledge. The second called ‘Unlearned Oral Tradition of Polyphonic Music’ refers to all the singers, both men and women, who perform without any previous musical knowledge. See FIORENTINO, ‘“Cantar por uso”’ (see note 9), pp. 23-35.

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Appendices Plates

Plate 1. MM 242, f. 169v (last system in lower margin): piece no. 218—verset? —two imitative points

Plate 2. MM 242, f. 169v (last system in lower margin): piece no. 218—verset? —motives A and B

Plate 3. MM 242, f. 170v (first system in upper margin): piece no. 222—verset? —opening motif configuration

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Plate 4. Antonio de Cabezón, Obras de música para tecla, arpa y vihuela …, XLIII - IV Verso del segundo tono—opening motif configuration

Plate 5. MM 242, f. 170 (second and third systems): piece no. 220—incomplete verset? —motif A

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Plate 6. MM 242, f. 170 (first and second systems): piece no. 219—verset? —motif A

Plate 7. MM 242, f. 170 (last system in lower margin): piece no. 221—verset? —motif A

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Plate 8. MM 242, f. 118v (two initial systems): piece no. 126—Fabordão—plainchant melody in Superius

Plate 9. MM 242, f. 118v (two initial systems): piece no. 126—Fabordão—Clausulae in Superius (A and D)

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Plate 10. MM 242, f. 118v (two final systems): piece no. 127—Fabordão—scarce glosa figurations

Plate 11. Luys Venegas de Henstrosa Libro de cifra nueva…, XXII Fabordón glosado VI - Anónimo—scarce glosa figurations

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Plate 12. MM 242, f. 106 (third and fourth systems): piece no. 105—Hymn Dic nobis Maria—glosado style in the two outer voices

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Tables

Table 1.

Hymns and other glossed pieces Fabordões

Versets, Kyries and Tento

Pieces no. 104-110 (ff. 105v-108v)

Pieces no. 126-134 (ff. 118v-119v)

Pieces no. 217-232 (ff. 169r-172r)

Table 2. Hymns 36

no.(*) ff. vv. bb. Plainchant Identification Formal Structure Voice Crossings Observations

104 105v-106r 3 68

Ave Maris Stella (Altus)

(transp. 5th ↓)

Three-part hymn (Ave Maris Stella);

C.F. in long rhythmic values in the middle voice and glossed

Superius and Bassus

Some voice-crossings between C.F. and Bassus

Analogies with the Ave Maris Stella hymns from LCN (Hymns LXXXI –

LXXXVII)

105 106r 3 32 Dic nobis Maria (Tenor)

Three-part hymn (Dic nobis Maria);

C.F. in long rhythmic values in the middle voice and glossed

Superius and Bassus

Some voice-crossings between C.F. and Bassus in the initial part

Stylistically close to the hymns from LCN

106 106r-106v 3 70 Difficult to

identify

Three-part hymn?; ‘migrant’ C.F., first in

the Superius then in the Altus

No Stylistically close to the hymns from LCN

107 106v-107r 3 42 Difficult to

identify

Three-part hymn excerpt?;

C.F. in long rhythmic values in the middle voice and glossed

Superius and Bassus

No Stylistically close to the hymns from LCN

36 (*) Piece numbers refer to Rees’s Inventor: see REES, Polyphony in Portugal (see note 3), pp. 326-37. LCN—

HENESTROSA, Libro de cifra nueva […] (see note 7). OM—CABEZÓN, Obras de música para tecla (see note 8).

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108 107r-107v 3 87 Difficult to

identify Three-part glossed

piece – tento? No

109 107v-108r 3 93

Chanson theme? (Kastner suggests

hypothetical authorship

attribution to Cabezón)

Three-part piece No Stylistically close to Cabezón’s works in

OM

110 108r-108v 3 94 Pange lingua

(Tenor)

Three-part hymn (Pange lingua);

C.F. in long rhythmic values in the middle voice and glossed

Superius and Bassus

No

Analogies with the Ave Maris Stella hymns from LCN (Hymns LXXVI –

LXXX)

Table 3. Fabordões 37

no.(*) ff. vv. bb. Formal Structure ‘Glosa’ Observations

126 118v 4 23

Four-part plainchant melody ‘harmonization’

C.F. – Superius (id. 127)

Bassus Analogy with VI Fabordón Llano I from LCN and Fabordón Llano del primer tono XXIII from OM

127 118v 4 22

Four-part plainchant melody ‘harmonization’

C.F. – Tenor (id. 126)

two parts: A and B

Some ‘glosa’ in the 1st part of the Bassus

Stylistically close to the fabordones from LCN; two part

formal structure as in the fabordones from OM

128 118v-119r 4 20

Four-part plainchant melody ‘harmonization’

C.F. – Superius

Some ‘glosa’ in the 2nd part of the Bassus

Analogy with the Fabordón de segundo tono XXIV from OM

129 119r 4 22

Four-part plainchant melody ‘harmonization’

C.F. – Altus two parts: A and B

Some ‘glosa’ in the Superius, Tenor and

Bassus

Analogy with the Fabordón del tercer tono XXV from OM

130-131 119r 4 23

Four-part plainchant melody ‘harmonization’

C.F. – Altus two parts: A and B

Superius, Tenor and Bassus

Analogy with the Fabordón del tercer tono XXV from OM

37 (*) Piece numbers refer to Rees’s Inventory: see REES, Polyphony in Portugal (see note 3), pp. 326-37. LCN—

HENESTROSA, Libro de cifra nueva […] (see note 7). OM—CABEZÓN, Obras de música para tecla (see note 8).

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132 119v 4 26

Four-part plainchant melody ‘harmonization’

C.F. – Superius two parts: A and B

Bassus; some ‘glosa’ also in the

Superius, Altus and Tenor

Analogy with the Fabordón del tercer tono XXV from OM

133 119v 4 15

Four-part plainchant melody ‘harmonization’

C.F. – Superius two parts: A and B

Scarce ‘glosa’ figurations

Analogy with the Fabordón del tercer tono XXV from OM

134 119v 4 15

Four-part plainchant melody ‘harmonization’

C.F. – Superius two parts: A and B

Some ‘glosa’ in the Superius, Altus and

Bassus

Analogy with the Fabordón del quarto tono XXV from OM

Table 4. Versets, Kyries and Tento38

no.(*) ff. vv. bb. Liturgical context and

plainchant identification

Formal structure Voice-crossings Observations

217 169r- 169v 4 117 Difficult to identify

Four-part tento?; imitative

counterpoint with various motives

generated from the initial one; some

homophonic sections; paired voices dialogues

Yes Stylistically close to the tentos in LCN

218 169v-170r 4 25 Difficult to identify

May be a verset given its reduced dimension; initial

imitative point

Scarce Stylistically close to

Cabezón’s versos in OM: XLII- XLIX

219 170r 4 27 Difficult to identify

May be a verset given its reduced dimension; initial

imitative point

Scarce

Stylistically close to Cabezón’s versos in OM:

XLII- XLIX; related to no. 218, given the fact that its initial motive is a development of no. 218 initial

motive – the minor 3rd is substituted by the perfect 4th

with the same intervallic typology;

didactic function

38 (*) Piece numbers refer to Rees’s Inventory: see REES, Polyphony in Portugal (see note 3), pp. 326-37. (**) Plainchant

melody numbers from Global Chant Database <www.globalchant.org>. LCN—HENESTROSA, Libro de cifra nueva […] (see note 7). OM—CABEZÓN, Obras de música para tecla (see note 8).

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220 170r 4 19 Difficult to identify

May be a verset given its reduced dimension; initial

imitative point

No

Incomplete copy (misses the final ‘chord’ - Am);

stylistically close to Cabezón’s versos in OM: XLII- XLIX;

related to no. 218 and 219; the initial motive is a development

of the initial motive of no. 218; didactic function

221 170r 4 38 Difficult to identify

May be a verset given its reduced dimension; initial

imitative point

Scarce

Stylistically close to Cabezón’s versos in OM:

XLII- XLIX; related to no. 218, 219 and 220; the initial motive is a development of the initial

motive of no. 220, in which the minor 3rd is substituted by the perfect 4th with the same

intervallic typology; didactic function

222 170v 4 60

Difficult to identify; the initial imitative

motive is the same as the initial motive of

Verso IV de 2º Tono - XLIII in OM

May be a verset given its reduced dimension; initial

imitative point

No Stylistically close to

Cabezón’s versos in OM: XLII- XLIX

223 170v 4 59

The initial motive may be an excerpt of

the beginning of Kyrie clementissime

plainchant melody #111 (**)

Kyrie Scarce

Stylistically close to Cabezón’s Kyries in OM

224 170v-171r 4 51

The initial motive may be an excerpt of

the beginning of Kyrie plainchant melody #210 (**) (Kyriale Romanum

XVII.)

Kyrie Scarce Stylistically close to Cabezón’s Kyries in OM

225 171r 4 65

The initial motive may be an excerpt of

the beginning of Kyrie plainchant melody#44

(**)

Kyrie Scarce Stylisticallyclose to Cabezón’s

Kyries in OM

226 171r-171v 4 59

The initial motive is an excerpt of the

beginning of Kyrie IV cunctipotens genitor plainchant melody #18 (**) (Kyriale

Romanum IV.)

Kyrie Scarce

Stylistically close to

Cabezón’s Kyries in OM, especially L – Kyrie Rex

virginum which has the same plainchant melody

227 171v 4 40 Difficult to identify Kyrie? Scarce Stylistically close to Cabezón’s Kyries in OM

228 171v 4 49 Difficult to identify Kyrie Scarce Stylistically close to Cabezón’s Kyries in OM

229 171v 4 41 Difficult to identify Kyrie? Scarce Stylistically close to Cabezón’s Kyries in OM

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230 172r 4 25 Difficult to identify Kyrie? Scarce Stylistically close to Cabezón’s Kyries in OM

231 172r 4 47 Difficult to identify Kyrie? Scarce Stylistically close to Cabezón’s Kyries in OM

232 172r 4 46 Difficult to identify Kyrie? Scarce Stylistically close to Cabezón’s Kyries in OM

Filipe Mesquita de Oliveira is an Assistant Professor at the Music Department of the University of Évora. His research field is 16th and 17th century Portuguese instrumental music, particularly for keyboard, and also late 18th and early 19th centuries, musical sources of the same genre. He is currently coordinating a project about Évora’s musical heritage—Study of the Évora Musical Archives: Cathedral, Public Library and ‘Arquivo Distrital’.

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